Podcast appearances and mentions of Robert Carlock

"Unbreakable Kimmy Schmidt" is a 2015 Netflix sitcom created by Tina Fey and Robert Carlock. The show follows the life of Kimmy Schmidt (Ellie Kemper), a relentlessly optimistic woman who, after being rescued from a doomsday cult where she was held captive for 15 years, decides to start a new life in New York City. After four seasons, Unbreakable Kimmy Schmidt ended when its creators felt that the story had reached a natural conclusion. Rather than stretching the premise or compromising the quality of the show, they decided to wrap it up while it was still fresh and beloved by fans. Will the S1E1 guys want to bunker up and binge this one? Listen as they deep dive the show's pilot episode, "Kimmy Goes Outside!" and find out. Starring: Ellie Kemper, Tituss Burgess, Carol Kane, Jane Krakowski, Lauren Adams, Sara Chase, Sol Miranda, Matt Lauer & Jon Hamm www.S1E1POD.com MERCH Instagram & X (Twitter): @S1E1Pod

Mase & Sue do a double-header - first up Mark Feuerstein and Michael Chiklis discuss their polar opposite roles in the MGM+Original crime thriller series, HOTEL COCAINE. They talk about the drug-fueled 70's Miami scene, the real hotel the show is based on, the authenticity of their roles, the process of building their characters, and mutual admiration for each other's work. Next – executive producer, writer, showrunner Meredith Scardino talks about the inspiration behind her hilarious NETFLIX Emmy-nominated series GIRLS 5 EVA, collaborating with Tina Fey and Robert Carlock, casting Broadway stars, how pieces of the cast's real lives were used for their roles, her show biz debut at the age of four, writing stints on SNL, Letterman and Stephen Colbert, the process of landing a late night tv gig, and cranking out jokes vs penning scripts. Plus, the hits and misses of the new flick, HIT MAN, Glen Powell's hotness, how movie studios should handle their theatrical releases, Sony buying Alamo Drafthouse and the prospect of studios purchasing theater chains.

Mulligan is an American animated apocalyptic sitcom created by Sam Means and Robert Carlock for Netflix. It premiered on May 12, 2023. Part 2 is set to be released on May 24, 2024.

This week, Emmy Winning Writer/Producer Jack Burditt (Modern Family, 30 Rock, Frasier and many, many more) discusses his career path, joining a show that is already established and working on shows with green screens.Show NotesJack Burditt on IMDB: https://www.imdb.com/name/nm0120994/Jack Burditt on Twitter: https://twitter.com/jackburdittMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptJack Burditt:I don't know. There was something about it that I'm like, oh, this is a show I always wanted to write. This is, and it was fun. And it was like we could go bonkers at times,Michael Jamin:But you'd go bonkers. But then you'd ground it somehow.Jack Burditt:Yes, yes. You always wanted to try to ground it somewhere in there. And even if you're leading up to a bonker scene, you wanted something setting up like this is the reason why this mayhem is going to happen.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. Another great guest. Hats off to me because my next guest is a friend from, I've known him for many, many years and I honestly have to say this guy's writing credits our outstanding, he's, and he's, he's going to be embarrassed when I say this, but Jack, I'm, I'm here with Jack Birded and he's literally one of the most sought after comedy writers in Hollywood. And Jack, before you say a word, let me tell you everyone what you've written on this could take a long time. You got a lot of credits, so, well, most recently, he's the creator intro runner of the Santa Clauss, the Tim Allen show on Disney Plus. Where he, Santa Claus. I'm going to, I'm just going to skip many of your credits. You have too many. I'm just going to do some of what I think of my, your highlights.Modern family. He run a Mount Modern family for many years. Unbreakable Kimmy Schmidt 30 Rock, which we're definitely going to talk about. That is literally one of my favorite shows of all time. And I want to know more about that Last Man Standing, which he created new adventures of old Christine. I'm with her watching Ellie, and I know I said that wrong. Watching Ellie Inside Schwartz created, he co-created Dag Just Shoot Me, which we worked on together, Inc. Frazier. Mad about you. What else did I, I'm sure, oh, the Mindy Project did I said that right? The Mindy Project. That's how you said that show.Jack Burditt:Yes, yes.Michael Jamin:I'm unfamiliar with her. And then most importantly, the one that everyone knows you for. Father Doubting Mysteries.Jack Burditt:Jack. Well,Michael Jamin:Thank you so much. Damn, Jack, the credits on. You are nuts. We were talking yesterday, we were picketing yesterday and I was like, Jack, come on. You got to be on it. My podcast. And you were kind enough to do this. I got a lot of questions for you, Jack. I want to talk about 30 Rock, most of all, because I had a lot of questions while we were drunk on a three hour hike around the Disney lot. But I was like, let's just save it for the podcast. Tell what was 30 Rock, because I know obviously you're LA and they flew you out because that was a New York show. So you lived out New York.Jack Burditt:Yeah, I mean, they didn't fly me out. I flew myself out. Yeah, okay. That's the first thing. Okay. They don't put you up, they don't like No, no, it, yeah, no, it was,Michael Jamin:But wait a minute. Do they give you any allowance for rent or is that No, you're just paying for it out of your salary. TheyJack Burditt:Give you a moving fee, I guess, and it's not much. And it's a one-time thing, so there's no, it's point.Michael Jamin:And then, so were you living in Manhattan then?Jack Burditt:Yeah, yeah. Yeah. And it was a big decision. I mean, that came about, I was, remember, I was actually thinking of a career move at that point. WhatMichael Jamin:Was the moveJack Burditt:To go to dramas? I don't know. A lot of sitcoms. I was like, eh, I don't know. Maybe I want to try something new. But I was supervising a pilot that season, a comedy pilot. And I remember just reading a lot of the drama pilots and go, oh, this might be interesting. And even at that time, I met on Friday Night Lights, which was going to be starting up and was really interest in that show because I thought, oh, this is a great pilot.Michael Jamin:But you had to put together a bunch of different drama specs, right, to do that. Yeah. Yeah.Jack Burditt:Okay. So I did that, and then I just read in the pack. There were some sitcoms in there too, and it was the Untitled Tina Faye project. And I read that and I'm like, oh shit, I want to be on this show.Michael Jamin:Mean it was great. But then had, okay, so then your agent submitted you and then what happened?Jack Burditt:Yeah, and he, not for a long time, could not give me a meeting with Tina. She wanted the people. She wanted, and she's going to do with Robert Carlock. And I didn't know him either. And my agent really spent a lot of time just saying, well, would you meet with this guy? And she read a spec of mine that she just didn't care about that much, but he talked her to a meeting with me. So at some point I got a call, it was a Friday. They're like, can you go to New York to meet with T? And I'm like, yeah. And they said, can you get, there's a plane leaving in three hours, can you get on that? And I said, sure. So I went out, flew out on a Friday night, got there Saturday, met with her Saturday afternoon. She was still doing, she's still the head writer on S N L.Right. She was still doing weekend update. And it was a show day at S N L. I went to her office there. And I just remember there was a lot of chaos going on. And then Gore's supposed to be doing a couple bits in the episode, but they didn't know at that point whether he was going to show up or not. And I was just, wow, curious. I go, well, what happens if you, he doesn't show up? She goes, yeah, you just deal with it. And I thought, she's so calm. I go, I want to work for her so bad.Michael Jamin:Yeah. That becomes basically an episode for 30 Rocky. That's what happens.Jack Burditt:I mean,Michael Jamin:So, alright. I'm just curious about the logistics. So you rent a place in Manhattan and then you shot it, was it in Queens? In Astoria, I imagine? No, you shot inJack Burditt:30. Yeah. Yeah. Silver Cup. So no, we shot it at Silver Cup in Long Island City, Queens. We would certainly shoot at 30 Rocket Times. But no, our offices, our main set was across the river.Michael Jamin:And then how did it work? How was she able to be in the writer's room and be on set? So how did she do that?Jack Burditt:It was tough. Mean, there was a lot of her shooting during the day, and then some of us going to her apartment at night and riding at nightMichael Jamin:Afterwards. So your hours must have been really tough.Jack Burditt:They were long hours. Yeah.Michael Jamin:What was the day, typical day on that show? I mean,Jack Burditt:I don't know mean it was always long. Always. I felt like it was always at least 12 hour days. But I mean, there were times, and we've been in the doing sitcoms or stuff. I mean, there were times we saw the sun come up.Michael Jamin:Yeah, I know. It isJack Burditt:The worst feeling in the world.Michael Jamin:It is the worst feeling. But that show, this was my complaint with 30 Rock. If you laughed out loud, you'd miss the next joke. It was that funny that I was like, I'd almost watch it in silence because like, I don't want to miss it. It was so funny that you couldn't laugh because you'd miss the next big joke, which was right around the corner. It was nuts. That show, I mean, so how was that different for you writing in that show? Was there different and it was a, I don't know, what was the secret? That was a, I just love that show. It was hilarious.Jack Burditt:Yeah. I mean, I don't know. There was something about it that I'm like, oh, this is a show. I always wanted to write this. And it was fun. And it was like, we could go bonkers at times,Michael Jamin:But you'd go bonkers. But then you'd ground it somehow.Jack Burditt:Yes, yes. You always wanted to try to ground it somewhere in there. And even if you're leading up to a bonker scene, you wanted something setting up, this is the reason why this mayhem is going to happen, or, yeah. Right. But I feel like on that show, we've been in rooms before and you pitch something really funny and everybody's pitching on top of it, and then the showrunner's like, yeah, but we can't do that. AndMichael Jamin:On that show it was like, we can that. So I mean, is that right? I mean, was there prettyJack Burditt:Much, yeah, quite often I'm things that I knew if I'd pitch on other shows, it would've been like a, yeah, that's really good. We're not doing that. Right. I thought, oh, it's got a shot here.Michael Jamin:But the thing is, I don't remember. I don't really remember. I don't remember the Beg, the early episodes. It couldn't have started out that broad. It couldn't have. Right. Because no one would've approved that. But no network is going to say you'd be this crazy red out of the gate. Right?Jack Burditt:Yeah. Yeah. I mean, it helped to have the power of Lor. Michaels behind it. He was an EP on it. But yeah, I, what the show became was a bit different from what it started, and there became more frenetic and a little bit more crazy as it went along. But I mean, even in that first season, I mean episode, I don't even know, maybe it was episode nine. By episode nine, we had Paul Rubins just playing this crazy character, and it was the first timer like, oh, maybe this is what the show can be.Michael Jamin:Oh, was really, is that what it was? Wait, the one time in Hits, and you'reJack Burditt:Like, yeah. Yeah.Michael Jamin:So I, I'm pretty sure you, well, you were in episode runs, weren't you? Weren't you in it once? IJack Burditt:Was in a few, yes.Michael Jamin:Yes, a few. And you TJack Burditt:Tina liked to, I think Tina and Robert Carlock. I don't like being on film, which is why theyMichael Jamin:Put you inJack Burditt:It. I think it was, but I also think it was partially, I did a lot of set duty. I was on set a lot during that run. And I think there's also the feeling of you put him in front of the camera so he knows what every actor's going through. And maybe it is helpful because in front of camera can be terrifying.Michael Jamin:Sure. But tell me, okay, so why were you on set most of the time? Why did they chooseJack Burditt:You? A lot the time. I mean it, I felt like in the early years, they just had, there were a few of us, there was me, they, John Regie, Kay Cannon, I don't know. There was a trust in some of us that they're like, you can sit on set. If something comes up, you can be there. Help rewriteMichael Jamin:It. Because Tina was there all the time. Right?Jack Burditt:A lot of the time. Yeah.Michael Jamin:And so she would say, Hey, can you take on another whack at this terrible scene? And then you'd got to just fix it on the set.Jack Burditt:Yeah. Yeah.Michael Jamin:So far, when we were doing Marin, I think I've told this before, but we did a scene in an anger management. Mark was in anger management. So they had a big circle where all of the other people in anger management. And so Mark yells me, he goes, jam and get in here. He wanted to be an extra in the scene. So I'm like, all right. He thought it'd be funny. So I'm sitting in the anger management scene, and then the director all cut, and then I get up and I go to the director, give him notes and all the extras. This guy is going to get fired. What the hell is he doing? Why is he talking to the director like that?Jack Burditt:That's hilarious. Do you remember the time on Just Shoot Me, were Steve was going to put me in a scene in the elevator and ask what he said? Yeah. Or I think somebody else had picked, maybe it should be Bird in the Elevator when George Siegel gets in there and Steve's like, yeah, fine, that seems good. But then the next day he's like, you know what Bird, it can't be in the elevator. This building is too nice of a building. And he basically going up too much of a dirt bag to be inMichael Jamin:That's, oh my God, we on, oh my. I dunno if I can say which. What? I was on a show, it was a network show, and we gave the lead character the last name. Well, you must know her. Linda ett. You know Linda, right? Yeah, yeah,Jack Burditt:Yeah,Michael Jamin:Yeah. So the network didn't realize, they didn't know her name, I guess, and they didn't like the lead being named Ti, they didn't like that name on her. She's like, what my name. But I remember we played, just Shoot Me at Ja, shoot me. We played, and it was best on pre-production. We played basketball. And then I would guard you because you were probably 35. I was like, I get the old, give me the old man. You were 35. Oh God. So now we were talking about this as well yesterday. You're running the Santa Clauss on Disney, and we were mentioning how, I hope you're comfortable talking about this, but the stress that comes with running a show versus being a Coex exec. And I wanted to get your take on, you feel what the differences are for you. What are the stresses for you when you're running a show?Jack Burditt:I mean, I guess the biggest stress of all is if something's not working, it's on you.Michael Jamin:It's on you. It'sJack Burditt:Just on you. I, and I just don't sleep. And it's like I, I'm like, I'm up at three in the morning going, Jesus, we don't figure this out. There's not going to be a script. There's not going to be. And it's just so many, I mean, how it is is a thousand questions a day, a thousand emails, texts, everything like that. And you just, you're overwhelmed. And I mean, what I like doing most is writing.Michael Jamin:But isn't that the hardest? I always say that's the hardest part of the job is the writing part, right?Jack Burditt:It's really hard, but it's also what I like the most. I love writing.Michael Jamin:But when they come to you with a wardrobe problem, aren't you just like, eh, put 'em on whatever. I don't really care.Jack Burditt:Yeah. Yeah. It's funny. In fact, every time I have run a show, always go to the head of wardrobe and I'm like, I don't know anything about it. Yeah. You see, the way I dress, I should never ever have a note on wardrobe. So I will always defer to you. And yet, I always wind up having a couple things like, no, this has got to be like this.Michael Jamin:I wonder if you feel this way as well. When I'm in a production meeting and everyone has a million questions and I'm like, oh, I got so much work to do. Can we get this over with? I got to go back and write. To me, that's not even the work. That's always like, this is nonsense I have to deal with. I got the writing is the hard part.Jack Burditt:Yeah. Yeah. I will say though, it, it's going to, production meetings is good because I think at first when you start writing, you're just like, I'll write anything. And then the production meeting,Michael Jamin:TheyJack Burditt:Say, no, clarifies what a jackass most production thinks you are for writing a simple line is going to cause so many problems and so much anxiety for prop people and wardrobe and special effects and stunts and everything like that.Michael Jamin:What about casting? Do you enjoy that part?Jack Burditt:No, I mean, right. It's tough. I mean, I know that a lot of Cassie now is done on tape, and I know that's its own problem. I know a lot of actors hate that, but I just feel so bad and being in the room with actors and you know, have 15 people coming in for a role and you're like, I could give this to 13 of them, anybody's going to be really good, so I'm going to pick this person. But a bunch of people who easily could have this job will not get it. I hate being in that position.Michael Jamin:So that's what it is. It's about you not wanting to hurt people that you don't, the part you don'tJack Burditt:Like. Yes. Yes.Michael Jamin:Interesting.Jack Burditt:Yeah, because I'm, there's so many good people out there, and there's so few jobs,Michael Jamin:Right? Yeah. What do you have, what's your interaction, I guess? What's your, yeah, what do you tell new actors to, how do you make 'em feel good? And do you have advice for them? I guessJack Burditt:It's funny because sometimes it's just like, they come in and what was in my head, they just nail it. And I'm like, that's great. But there's other times where actors will come in and do something that's completely different and really surprise me. And I go, alright, let's do it that way. And then I will wind up rewriting the role for them. Because Do youMichael Jamin:Tell that?Jack Burditt:I have told them that. Yeah.Michael Jamin:Well, how do, what do they feel about that? They must be very flattered.Jack Burditt:Yeah. Yeah.Michael Jamin:It's so interesting because you've been doing it so long, it's kind of interesting. I don't really talk about this, but you've been doing it so long, it's really not about, at this point, it's not about always getting what's out of your head casting that you're like, okay, yeah, I'll do some, I'll just surprise me, do something different. It's no longer about your ego at this point. It's about just what's interesting, right?Jack Burditt:Yeah, yeah, yeah. Absolutely. And when I say I hate Cassian, it's not like I hate, I'm rooting for everyone that walks through the door. I want everyone to be great, and that's it. Not because I know there's certain writers who just have a sour feeling about all actors or whatever. It's like, it's not that at all. In my case,Michael Jamin:Although, but now, because it's like, how much do you do when you're watching on tape? How much will you give them? If they have the three minute audition, how long will you watch the whole thing?Jack Burditt:Yeah, I do. I do.Michael Jamin:That's good of you. Yeah. That's really good of you. Because you know, might be reading 10 actors.Jack Burditt:Yeah, I know. But I just feel like I owe it to them.Michael Jamin:That's really good of you, especially at the end of the day when you're tired or you have more things toJack Burditt:Do. Yeah, yeah.Michael Jamin:And then on set, what else? Exactly. Let's say, I know we're getting back to the 30 Rock, but what are you looking at when you're on set? Or is it just all script? It's all about the words.Jack Burditt:Yeah. Mostly. I'm not one of those. Very rarely will I go in and go, this is blocked wrong, or anything like that. Or the act. Yeah, it's mostly about the words,Michael Jamin:Really. Yeah. So it's not even about making sure you have the right coverage. You just whatever you, you'll trust that to the director or theJack Burditt:Yeah,Michael Jamin:The dp. Yes.Jack Burditt:I mean, yeah, I'll call that out every once in a while. Like I don't think we, I got this reaction. I think the actor gave us the reaction. I don't think we have itMichael Jamin:On camera. Yeah, yeah. Right. And I'm sure you learned a lot just from being in post, right? Yes.Jack Burditt:Yeah. I know. It's one of the reasons we're running circles around Disney and other studios now, picketing, one of the big issues is younger writers aren't getting a chance to either be on set or do post. And I mean, if you're writing tell, youMichael Jamin:Have to know all this. YouJack Burditt:Got to know all of it.Michael Jamin:Yeah, they don't, it's so odd because I think they're just being shortsighted it, it's going to be fine five or 10 years. But after that, when the older writers were done, these younger writers, they're not going to have this studio system. They, they created this thing that works, this Hollywood machine that really works well. And I feel like they're just trying to save a couple of bucks, but they're going to destroy it 10 or 15 years from now. What are you doing?Jack Burditt:Yeah.Michael Jamin:Hollywood has this monopoly that they're just kind of ruining. I don't know why they'd want to do that.Jack Burditt:Didn't your writing completely change after you started doing Post the way you would write a script?Michael Jamin:Yeah, it would. Well, it, not only that, it changed the way we would shoot it. We were hired on a job just because Steve and I knew how to look at the cameras we were hired on for pre-production, but they kept us through production because we knew what to do, how to watch the cameras, which the other people didn't know how to do. But yeah. But now you were also mentioning your post-production is so long. This is something I know very little about. Special effects. What is that whole process on with the show you're on now?Jack Burditt:Yeah.Michael Jamin:What do I need to know? If I were to say, kill you and take your jump,Jack Burditt:What you need to know isMichael Jamin:Don't do it. Don't take the jump.Jack Burditt:All the effects is so much more expensive than you can ever imagine.Michael Jamin:Well, yeah. So is a lot of green screen, is it rotoscope? What is this?Jack Burditt:Yeah, yeah, it's green screen. Yeah, IMichael Jamin:So when you're on set, how do you know if they're doing it right? I know. I never know. I don't.Jack Burditt:No, you got to trust it, I guessMichael Jamin:At theJack Burditt:Time. You got to be like, I hope. Yeah, we were, and we shot stuff this year that I was just like, so those mountains we see in the background, because this is supposed to be Chicago we're in, and not Santa Clarita, those mountains will be gone. I don't know if there's no money in the budget, suddenly Chicago's going to have a mountains,Michael Jamin:So they'll take all of, so it's all, yeah, even that, that's not even, okay, so it's not evenJack Burditt:That's green screen. It's right. It's like things to paint out, or they're dealing with a green horse head on set and you have person talking to it, and you have to trust that at some point, that's going to be a character talking to a reindeer and the reindeer's talking back.Michael Jamin:Right. And that, so you are overseeing that whole process. So in other words, if the map looks funny to you, you're like, nah, can you do it again? The map looks stupid, orJack Burditt:Yeah. Yeah. You'll giveMichael Jamin:Those kind ofJack Burditt:Notes. Yeah, yeah. Until you're told we have no more money and no more.Michael Jamin:It's like,Jack Burditt:Oh. And then you're like, oh, it looks fine.Michael Jamin:You know what though? But yeah, when we did Maryland, which is such a low budget show, if there was one shot, the cameras in front of the door at the door of a house and the door swings open, and for a fraction of a second, you can see the camera looking in the reflection of the camera in the door, but only if you're looking and only for a half a frame. And they said, oh, we'll just take that out. The post-production super supervisor says, Hey, we have some money, we'll take it out. I'm like, why bother? I didn't see it,Jack Burditt:ButMichael Jamin:It was going to cost a lot of money. I was like, I don't, is this really matter to us? But they did. They removed it. I was amazed. It was like a $5,000. And it doesn't make the show better. It just doesn't make it worse, I guess, right?Jack Burditt:Yes.Michael Jamin:Yeah. So interesting. What do you say, I don't know. What's it like with working with young writers now? What do you say to the young writers? Tell me,Jack Burditt:What do you say? I mean,Michael Jamin:What's it like working with young writers because you are still working in network? Big shows. I'm on mostly low budget shows where it's like three people complaining or whatever. IJack Burditt:Mean, it's fun. Yeah, it's fun working with young writers. They're soMichael Jamin:Enthusiastic.Jack Burditt:They are very enthusiastic. And then look, I mean, on Santa Clauss in season one, I mean, our two staff writers came in and pitched this whole Santa Claus mythology to dive into, and it's really become a big part of the show. TheyMichael Jamin:Pitched it before they got hired, or when they got hired,Jack Burditt:When they got hired.Michael Jamin:So they came in on their own. They said, Hey, what about this? And thatJack Burditt:Sounds smart, and let's really dive into the mythology of Santa Claus and past Santa Clauses and Oh, wow. And it really kind of opened a lot of avenues and it made it interesting. And I honestly think it bought us, when we did it last year, it's supposed to be one time limited series, and it did really well. But I also think that storytelling that the staff writers brought in kind of helped get a second season to, that's interesting. Oh, there's other areas that dig, get we. It's not just about Tim Allen playing Scott Calvin as Santa Claus, and he got a family. But there's this entire world, and I don't know the mythology world that much. I watched some of these shows or whatever, but I never broken them down before. But these writers were just, a lot of the young writers, they're very much into that. And soMichael Jamin:I have noticed that too. When we work with young writers, they're very enthusiastic, very. And a lot of them come in, it's day one, and they got piles of ideas and the showrunner's, all right, and then what do we got? And they come up, they start pitching their ideas and they're like, whew, at least someone came prepared. Let's do their idea. Because the older writer's like, I don't really know. We'll have to bang our head up against the wall. But the young kids, they got ideas. Let's do those. Yeah, yeah. They're enthusiastic, but, and so I want to go through some of your credits here. You have so many interesting, I don't know. I guess, tell me how you, I guess let's start with this. How did you first break into the business?Jack Burditt:It was almost like, it should have been expected of me, but I kind of went away from it. So both my parents did this, right? I mean, originally from Cleveland, my dad was a greeting card writer, but then some of his friends, his greeting card friends started moving out to LA and working on variety shows and things like that. And at some point my dad, like midlife decides, yeah, I'm going to give that a try.Michael Jamin:Fuck all this sunshine greeting cards. This is some comedy. And when you say midlife, how old was he?Jack Burditt:He was in his fortiesMichael Jamin:And he broke in his forties.Jack Burditt:He broke in his forties, I guess it was a different time. Yeah. So we stayed in Cleveland while my dad came out and for a year tried to make it and then got on a show, a variety show, and he is like, all right, looks like I got a good job andMichael Jamin:Out. And what show was that though? Do you remember? It was a,Jack Burditt:Yes. So it was a show called Turn On, which is famous for being canceled. Even almost halfway through the airing of the first episode.Michael Jamin:At the first act, we got to get this thing off.Jack Burditt:There were so many calls to the network, which I, I'm trying to remember. Maybe A, B, C, maybe N B C.Michael Jamin:Why? Because there were so messy, there were soJack Burditt:Many calls complaining about it. It was done by some of the same people that did laughing and it was like, let's take laughing, but speed it up even quicker and make faster jokes and go all and make it insane. So yeah, it had a 13 order, so that's why we moved. He moved the family out here and then boom, after one episode, he's out of work.Michael Jamin:Oh my God. It's hilarious. We, that's so funny, Steve. And we did a show once and we had a long, kind of a long contract. I go, what if we have to stay on this show? He goes, Steve's like this show's canceled up the act pretty soon as they air. And he was kind of right. Okay. So then after that show, what happened after the show was canceled to your dad? SoJack Burditt:Then thankfully a little bit after that, then he started writing on the Andy Williams show and which was done at N B C and Burbank. And we lived in an apartment a block from Burbank. And so kind of grew up around it. I grew up in Burbank, and then he did other variety shows. Sonny and Cher was the big one. He did, but he did a lot of things. You probably never heard of the Lola Ana show, the Hudson Brothers show. He did. But I guess the mid seventies he really started, he started realizing variety shows are going away.Michael Jamin:Well, there were a ton of them. There was Donny and Marie. I mean, it was the realJack Burditt:Big deal. But he, I wanted to make the switch to sitcoms and he had a writing partner and they wrote a Jeffersons, they wrote on Jeffersons, they wrote all in the Family and Sanford and Son,Michael Jamin:All amazing shows.Jack Burditt:And then the guys who ran the Jeffersons started three, each company. And then that's what my dad and his partner did. They jumped ship and they went on this new show, threes company, which was just this massive, massive hit.Michael Jamin:But all those shows were massive. All of my favorite shows, I didn't know he did three's company. Oh my God.Jack Burditt:Yeah. So I think he wound up writing probably more episodes of Three's company than anybody. I think SoMichael Jamin:Did you go to set a lot? Did what wasJack Burditt:Growing? Yeah, and it was funny. So yeah, I was kind of fascinated by it. I got a kick out of it. I never thought of it as a career. I'm like, my brother and my sister are really smart. I'm kind of the dummy of the family.And I always thought, oh, maybe they'll do something in there. My brother would make home movie. He is always making movies with those Super eight. But yeah, I just going, I thought it was fun to, I would go to Sonny and Cher, go to see those tapings, and then down the hall all in the family would be shooting and my dad would go, you want to go down to see Hall in the family? Yeah. I went down and just some dump, dump kid wandering around C B s television City. And then we'd go by and I'd watch Carol Burnett being filmed and amazing. And never occurred to me that this could be a career in any way.Michael Jamin:I don't know why your dad was doing it.Jack Burditt:Yeah, I don't know. I really, because like these are all smart, funny people doing it, I guess.Michael Jamin:And then when you went into the, weren't you in the military after? Did you not or was there somebody else? No. Oh, okay. Alright. So what? I wasJack Burditt:Not, my daughter went in the military, somebodyMichael Jamin:Thinking, no, I know, but I thought you did. But I guess, or I didn't wait, but IJack Burditt:Know. No, no, no. I, oh, I worked at Lockheed. I did. I mean, thatMichael Jamin:Makes mean they make stuff in theJack Burditt:Military's. I worked on missiles. So maybeMichael Jamin:What did you do in the missiles? What did you put gunpowder in it?Jack Burditt:I honestly, I don't think I'm allowed to say everything I did. Is thatMichael Jamin:Right? You had security clearance?Jack Burditt:Probably shouldn't have said missiles. I can say missiles. It's been a long time. We know Lockheed, they made missiles, so Right.Michael Jamin:Wow. My college roommate, he was on Secret Service detail for many years. And when I ran him to at college reunion, I hadn't seen him many years and I was like, dude, I can't believe we're on Secret Service. How many of them are many are there on the Secret Service detail? And he goes, that's classified. I go, that's the answer I wanted. That's all I wanted. I don't care about the number, I want you to tell me it's classified. Okay. Alright. So then at what point after you decided you didn't want to make missiles anymore, did you get into comedy writing?Jack Burditt:So the one thing I did know I could do was write,Michael Jamin:How did you know?Jack Burditt:Just in high school, I mean, like I said, I'm kind of a dummy and I barely graduated from high school. And the only way I graduated from high school was I loaded up on any course that had writing in it. I can bss my way through this. So I knew that. Also knew I enjoyed writing. I would just write stuff all the time. And then I liked journalism a lot. And so after high school, did a little bit of college, but not really didn't. And I worked at Magic Mountain as the right operator. AndMichael Jamin:Hey, it's Michael. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michael jamin.com/watchlist.Jack Burditt:Got yeah, started going out with another ride operator, and at some point she got pregnant and we're like, eh, let's get married. See how this goes. We're dumb teenagers. And we got married and we're still married today.Michael Jamin:But then didJack Burditt:So because of that, because I had to be responsible. I can't continue working as a riot operator. Then I worked at Lockheed, and that's where I did the missiles thing. But my wife, her friend worked at the Daily News, Los Angeles Daily News, and she knew I was interested in journalism and she got me a job as they called 'em copy boys at the time. They're editorial assistants, basically a PA for newspapers. And back then stuff still came over. The wire wasn't computer and you'd rip the wire and get different people. So I was working there for a few months and still hustling, trying to pitch editors on, can I write something? And they're like, who is this dumb kid? But then, yeah, I met the entertainment editor and just started hanging around and he took a liking to me and I got an assignment to interview a band. And that was my first, it was my first writing gig, my first professional writing.Michael Jamin:What was the band?Jack Burditt:It was a country group called Alabama. Oh,Michael Jamin:Sure. But that's not sitcom, right? That's not narrative.Jack Burditt:No. And I was really happy working for newspapers. I really enjoyed it. But while I was working there, I was working with a couple other reporters who wanted to get into script writing, and they had heard at one point about my dad.Michael Jamin:They're like,Jack Burditt:Why aren't you doing this? Yeah. I'm like, he does it. And he does it really well. I don't guess that's the biggest part of it is my dad did it so well. I didn't want to be the guy who's trying to do the same thing and being bad at it. Interesting. And I think that was always a fear, but one of these reporters, he had been in special forces and he wanted to write action movies. So the three of us would sit there and write these spec action movies, scripts, we'd get drunk a lot too, and doing that. And we got an agent, not a very good agent, but we got an agent and nothing was happening with that. And at some point I was like, you know what? We should try tv. And the guy who was in the Special Forces, he's like, I don't like tv. I don't watch tv. And he really didn't. But I think I convinced, I think at one point we wrote a cheer speck and I, I wrote a lot and I mostly wrote specs on my own. I just liked writing. I mean, geez, I probably wrote, so wrote the cheers. You wrote a Roseanne. Wow. Probably a home improvement.Michael Jamin:But did you really know then how to write, how act breaks? Did you really, I, there's a difference between knowing how to writing and enjoying writing and knowing how to write.Jack Burditt:So I didn't know what I was doing. And so I didn't really go to my dad for advice. And by this point, my mom was also became a television writer. She was writing in one hours, and I did not bug them about it. And it was just idiotic. And I think there was an embarrassment on my part or I, I'm not sure exactly why. So interesting. But I got a job reading scripts picking up, so did it for Tristar, did it for Disney Channel, did it for a couple play as a script reader and doing notes. And that to me was the education really. And I started to really see what worked, what didn't,Michael Jamin:The scripts.Jack Burditt:And I remember I read a couple books and read articles on writing, and it was always, those first 10 pages better be great. And I did discover a world where so many people had a really strong first 10 pages, and then it all fell off a cliff. And I'm like, no, I think it's those middle of the scripts that if you can nail that, then you're in good shape.Michael Jamin:But when did you, because for me, it really took many years, even as after we became professional writers, before I really kind of understood how to write. Yeah, it was mostly relying on more senior writers to do the heavyJack Burditt:Lifting. Right, right.Michael Jamin:Well, when did you figure that out?Jack Burditt:I mean, yeah, I don't know. Like I said, I did the script reading. I was still doing journalism, did the script reading on the side, and I think that really helped. Then I got a job at Disney as a script reader, and I was like full-time on the lot doing that. And then I was just around it and around people who talked about scripts and which is really, I would go to meetings that I should not have been in. I was in meetings with Michael Eisner and Jeffrey, and where they're talking about projects coming up and how to do this or do that. And I also didn't know my place. I would, I remember one point argue with Eisner, and then after the meeting, my boss said, you can never do that again.Michael Jamin:We did the show for him. This was a Michael Eisner show, and we would try to, he was a good boss, but we would try to convince him if he was stuck on something, there was no way you were going to change his mind ever. Not in a million years. And so it was his way. Okay. But for the most part, he let us do what we wanted, but once in a while he'd say, no, we're not going to do it my way. Well, you have the money. SoJack Burditt:There was one point, so there was a project, it was for the Disney Sunday movie, and Disney had signed these triplets, they're called Creole Creole triplets, and they're cute, I think 16 year olds. And Jeffrey Katzenberg wanted a show where, or a movie where on their 16th birthday, they discovered their witches. And so it was kind of charmed before Charmed. And I had been in those meetings where Kastenberg talked about it. So they hired a writer, and that writer, the first writer they got didn't really nail it. And then I had been in those meetings, I gave notes on it. They wanted me to give notes and say, this is what it should be. And then they wound up going with another writer, and she wasn't nailing it. And I gave notes and she did another pass. And it's like, I know this isn't what he wants. And so I did what you're not supposed to do. And over a weekend, I wrote, rewrote the first 30 pages of the script. And I went in Monday and I gave it to my boss, and I said, here's what I did. And she said, you can get fired for this.Michael Jamin:Why can't you get fired for that?Jack Burditt:Because I'm a reader. I'm not allowed to take a project and do my own pass on it. ButMichael Jamin:Why not though? BecauseJack Burditt:I don't know, there'sMichael Jamin:Still her version and then there's your version.Jack Burditt:It is a rule. Or maybe they just wanted to fire me. I don't know. Okay.Michael Jamin:Yeah. I don't know how the rules were. Okay, so you did this and she said, you shouldn't do this.Jack Burditt:She goes, yeah. She goes, you can get fired for this. I go, I know, but could you read it? And later that day, she came into my office, she goes, this is really good. I want to pass it up. But once again, I passed it up, you might get fired. I went, okay. And it got passed up and Kastenberg said, have this guy write the script,Michael Jamin:Then fire him. AndJack Burditt:That was your, so that was my firstMichael Jamin:Break,Jack Burditt:Yeah. Wow. And it never got made,Michael Jamin:Right?Jack Burditt:Yeah,Michael Jamin:Because things don't get made. That's how itJack Burditt:Is. Things don't get made. But then it got me, I started rewriting some Disney Channel projects and a couple, yeah, it was all these things. Nothing ever got made. I remember I was hired to write the new Mickey Mouse Club and then suddenly lost the job. And I still don't know what happened. I was you. And they're like, nah, yeah, no, you're not going to do it after all. Or that was, wow. The one with Ryan Gosling and Britney Spears andMichael Jamin:Oh my God, wow. Launched them and could've launched your career.Jack Burditt:I know I could be hanging out with all of 'em now. It'd be so much fun. So I was doing that, still working newspapers at times, still doing some script reading, the whole script reading career too. I was like always liked looking for things. And I think the only success story I ever had was I found an article in American Heritage Magazine about a newsboy strike in the 19 early 19 hundreds against Pulitzer and Hearst and I passed along because Disney was always looking for things for kids that kids could be in. And I said, Hey, I think this might be a movie. I never pitched it as a musical or anything. I thought it was a straight ahead thing, but it was like NewsiesMichael Jamin:And they, right, that became that. But you didn't have, so just whatever your job was to come up with ideas or you found an idea, you pitched it, or you put up the ladder, but you didn't get any credit. You don't get dirt. No, no. It was just, that sucks.Jack Burditt:And that's it. But yeah, also, I made money reading scripts for years, and that was the only thing that ever,Michael Jamin:Yeah, but it wasn't, I mean, you were raking it in as a script reader,Jack Burditt:Right? No, no. Right. No, no. It was mostly, it was actually a tough job for the little money. But like I said, I think that's where I learned everything. So that was helpful. And then I was still kind of kicking around, picking up little projects where I could and still work in newspapers. And I covered the riots in 92, the LA riots, and was so shook up by it. And so I really thought it was going to die up there. Everything was terrifying. And at this point, I got four kids. I'm, none of them will ever be able to go to college or anything, just scraping by. And I was like, I really need to write a great spec and try to get into sitcoms. It was finally, then I'm like, I'm really going to try this. And I wrote a Seinfeld spec that got wound up getting me with contacts I'd made Wound up getting me a really good agent. And within a few months I was on mad about you on the staffMichael Jamin:That was. And how many years were you on Mad About YouJack Burditt:Two? I did two Years On Mad About You.Michael Jamin:That was a really good show. And then Frazier, of course. And then, and most also, well, not most recently, but pretty recently, modern Family. The thing that strikes me about Modern Family is everyone in that room, I imagine it was a showrunner, potential showrunner had run shows. It'sJack Burditt:Crazy.Michael Jamin:It was really a talented room.Jack Burditt:Yeah. I mean, yes, it was. I like being on a show early on and really being able to put whatever fingerprints I can on it and direction and take character. Oh, let's do that. I like being at the creation of something. But there was something really nice about coming into the Modern family at the end, and I only worked on the last three seasons of that show. And just being no stress, no pressure. It's just, I'll tell some of my weird family stories and maybe they'll go in the episodes andMichael Jamin:Because it must be nice knowing that anyone in that room is capable. It's okay if you're having an off day, someone else would be fine. You're in good hands no matter who's talking.Jack Burditt:It was an amazing, amazing room.Michael Jamin:It's unusual.Jack Burditt:Or rooms becauseMichael Jamin:There's multiple rooms. And did you go back and forth, because obviously Steve ran Run Room and Chris together, but did you jump back and forth, or were you in someone's room most of the time?Jack Burditt:I think the first season I was there, I was mostly in Steve's the second season. It was about half and half in the third season that I was mostly,Michael Jamin:Do you know why,Jack Burditt:Chris?Michael Jamin:I would be like, wait, does he not like me? And then if I got into that room, wait a minute, he doesn't like me anymore. I would be paranoid no matter what roomJack Burditt:I was in. Yeah, right.Michael Jamin:But it was just they wanted to mix it up or what?Jack Burditt:Yeah. I mean, yeah, that first year, whatever room you started in, you were kind of there. And when I say first year, my first year, it was year nine of the show, and then there was an concerted effort. The writer said, you know what? That got too weird last year. Let's always keep mixing it up.Michael Jamin:Okay.Jack Burditt:And so season 10, we really, everybody I think did about half and half.Michael Jamin:You can answer this now, but did you, before you got there, did you watch every single episode or no?Jack Burditt:Yeah, so I had watched a show a pretty much every week, I think the first three seasons and then what happened in life. And so when I knew I was going to go on the show, I got episodes four through eight, and I just watched them all, which is a horrible way to do it. Why? Because I just bing because nothing lands. Oh. Because then I found myself pitching things and they're like, we already did that. And I'm like, really? And then they would tell me the story. I'm like, oh yeah, I saw that.Michael Jamin:Was that the one I slept through? Is that,Jack Burditt:And I felt like, I think I waited too late, like, oh, I'm going to start there next week. I got to binge every episode.Michael Jamin:Wow. And then of course, yeah, you created Last Man Standing. Now you working with Tim Allen again, and yeah, I don't know. What do you see? What does the future look like? I don't know. How has it changed for you? What's your perception? What's going on with the future of writing?Jack Burditt:Future of writing? I mean, make meMichael Jamin:Feel good.Jack Burditt:Yeah. I makes me feel good. Yeah. I decide I have to stop, have to censor myself on the picket line because yeah, I message, look, it's rough. I think what we talked about earlier, young writers are not learning the skills to run a show or whatever. And it's really, I think that has to change, I think for the sake of the business. But I don't know mean for the future tough. I hope we've hit the low point right now and that things get a little bit better. But the business is broken in a way too. And I think business has to figure itself out. And as much as writers got to figure out what their place is in the business, but I keep hearing not all these streamers will exist in a couple years. Right? And I'm like, what does that mean though, too? And our network's dead or not? Or I don't know any of this. I it's, and I've never felt like I don't have a handle on the business, but right now, I don't know.Michael Jamin:It's interesting. We sold a pilot to, I don't want to say which one, we, to a streamer, this is, I don't know, a year or so ago. And then we turned it in and it just sat on someone's desk for probably close to a year before they finally said, it's dead. It took 'em that long to say. Yeah. And then I think what happened was, usually you find out in a couple of weeks or whatever, but I think what happened was they couldn't decide if the streamer was dead or not. It wasn't really about their show. Oh, it was about the future of the streamer. I think that's what they're thinking about. It's like, are we really going to do this? Why are we in business? So I don't know.Jack Burditt:I can't believe Netflix is thinking that way, butMichael Jamin:Between me and you, you'll hear it here first. You heard it here first,Jack Burditt:ButMichael Jamin:You know what though, Jack, you are like us. I said this to Andy Gordon because, and Andy obviously, he just really enjoys writing. And you're the same way. I feel like you're just like, Andy will write and whatever. I don't really care. I'll just write something. As long as I'm writing, I do it the same way. Yeah,Jack Burditt:It, I mean, yeah, I'm always just writing things, just I do enjoy it. And Andy, you're right. Andy is another person I know, just loves it. Loves, yeah. Andy not only loves writing so much, loves everything about the business.Michael Jamin:He does. He does.Jack Burditt:And it's infectious being around him. Yeah. How much he loves it. HeMichael Jamin:Loves it. He'll take pictures. We did a show, did show in the scrim in the back, the background on stage was you could see his house. It was a Hollywood scrim, and you could see his house in that hill. And he was so excited to see his house in the scrim. Yes. That's awesome. Because he always walks around with a camera. He captures every moment. So exciting to him.Jack Burditt:He's also just one of the funniest writers. That's hilarious. And just shoot me when you're, I'll say being in that room, that was such a great room. And I also just remember, I do love, right? And I, I'll work harder than everybody. I also feel like I'm not as funny as in that room. I'm like, I know I'm not as funny as Andy or Danny or you.Michael Jamin:I don't put thatJack Burditt:Jack. No, no. Absolutely. 100% I, I'd be in that room and I'm like, yeah, I'm not going to out. Funny. These guys maybe work. And I did have a nice reputation. The best thing I've had is that I turn in great first drafts. You do. And that always my thing. It's like I don't eat or sleep when I'm working on a draft. And I just, because out of fear, I got to be as good as everybody else who's just so naturally funny. I don't know.Michael Jamin:AndJack Burditt:I would just grind and grind and grind. And even when we're in a room and going down a road and everybody's pitching really funny things, I'm like, I'm not going to be able to join in and out, pitch them. So my whole strategy was always, is there another way to go with this story?Michael Jamin:How funny. AndJack Burditt:So sometimes I would just, sometimes I couldn't figure it out and I would just be a quiet in the corner. Other times it'd be like, yeah, that's great. What if we did that? And I felt like that was, sometimes my skill is like,Michael Jamin:But even, but wait. But if that, well, first way was getting traction. If the first idea was getting traction, you wouldn't derail it with a pitch that said, what about that? IJack Burditt:Wouldn't, no. But I would like, no, not saying send the whole story, but another way to wrap up that scene or another way to try to come up with just something if it's heading some to surprise people and Yeah, this is funny. This is funny. It's going this way, this way. Oh, that happens.Michael Jamin:I don't know. What season just showed me was we were in one of the bungalows, I don't know, whatever it was. I have a clear, remember of you coming out of your office, you are off on draft on script, and you come and you were just exhausted. And it was just like, oh man. Poor Jack is on script. Yeah, you were really in it, man. You were when you're on script. Yeah, I remember that really well. You were suffering and you always turn in terrific drafts. I don't know what you're talking about, because it was always funny on page. And the most important thing is it funny on, and I don't even know how you did it, because when ER and I worked together, we know it's funny because the other person's laughing, but I always felt like, how do you know it? Because how do you know? I don't know how you did it alone. I really don't. Like how do you know it was going to be funny when you turned it in?Jack Burditt:Yeah. I mean, always felt like though there, it felt like almost every draft I turn in, there was always one or two jokes where people go, I don't get this. And I'd be like, I'd start to defend it and then realize like, yeah, no, it doesn't make sense.Michael Jamin:Don't get it either. I thought I was going to pull a wool over your eyes, butJack Burditt:Do youMichael Jamin:Keep some kind of notebook now when you have ideas or what do you do?Jack Burditt:No, I used to carry a notebook everywhere I went. Really? I don't anymore. And I don't know. At some point I'm like, eh, if I don't remember it, it wasn't that good to begin with. But I know there's a couple things I've forgotten. I'm like, I know. That was good. I can't remember what that wasMichael Jamin:Exactly. What Siebert and I say when we're on Tacoma fd, because we don't take a lot of notes. And there always our feelings. Well, if you don't remember, it was probably no good. No, but it was good. I dunno, maybe I should write it down, I guess. Oh, we should feel like you can come with something else. It's like it's not the end of the world. You come up with something, a better joke or whatever. Right. Anyway, that's so funny. Well, Jack, I want to thank you so much. This is an interesting talk. I really enjoyed this. I definitely enjoy getting your perspective on all of this, damn, honestly. And I have to, I'll say one last thing before I let you leave. You were always very support. I was a younger writer on just Shoot me. And you were very supportive of me. And I remember you sticking up for me one day and I really appreciate that. I don't remember what the details, but I said something, it was a joke. We were pitching on something. It was probably 10 o'clock at night. I was by by exhaust. And I pitched something that was kind of incoherent andSomeone started making fun of me, which you're supposed to do in the writer's room. You're supposed to make fun of the other person. But you came to my defense, you're like, no, this is his process. This is how he comes up with stuff. Leave him alone. And I always remembered that and little things like that. It's important. Oh,Jack Burditt:Well, itMichael Jamin:Really meant a lot. Really meant a lot to me.Jack Burditt:No, I liked your process too, because it was all out loud and you would try to, that's theMichael Jamin:Bad part.Jack Burditt:No, but it was interesting to me like, oh, I feel like it's what happens in a music studio, and I'm trying to figure out the thing. Yes, most people I think would keep it, try to figure it out in their head. But I also felt like with your process, because trying to get it right, you would throw something out and then work it and work it. But I also felt like there were times where you throw something out and you started working it, but then somebody else would pick up on it and I'm like, oh, maybe. To me it was like I always kept it inside until I felt like was I was 100% cooked and I probably shouldn't have at times. At times I'm like, I should have thrown something out that was half cooked and maybe gotten some help.Michael Jamin:But that's the thing. And I feel like I should have, I have not say everything out loud. That also can be a burden. When you're just spewing on stuff that's not ready to be heard, then everyone's shut up. So I can think, but how I think it's like whatever you're doing, you're always, am I doing it right? Maybe I'm doing it wrong. Whatever you're doing. I always feel like I'm probably doing it the wrong way. Someone else is doing it better.Jack Burditt:Right. Well, and that's one, and this, I guess would be the advice for younger writers if they ever happen to get into a room too. Yeah. It's just one thing I learned very late in life on this is every writer in that room is terrified that they're failing. Even the veterans, even ones have been doing it a long time, they're just like, oh shit. Oh man, if I don't, I got to get their, everybody is in their own heads, but do youMichael Jamin:Still feel that though? I mean, do you feel like other veteran writers that you currently work with or work with in the recent past feel that way still?Jack Burditt:I think the really good ones feel thatMichael Jamin:Way. Really?Jack Burditt:Yes.Michael Jamin:They feel like they're, they're stru. This is all garbage. It's all gone downhill. Yeah. Really. The good ones interesting. I'll have to get names from you, but I certainly feel like whenever we start a script, I'm like, ah, crap. You know what I really feel, I felt like, and I remember on Just Shoot Me Feeling This, every time you write a story, you break someone. We would break a story in the room and I always felt like, well, that's it. There's no more stories. That's it. How could there be more? It took us how took a week to figure out this one. Yes,Jack Burditt:Yes. Yeah. I know. It was all, yes. Especially those times where it really took a long time.Michael Jamin:Yeah.Jack Burditt:How did that take so much? We're we're done. Yeah, we, we've explored these characters too much and now,Michael Jamin:But you must've felt that way in Modern Family though, when you've done season nine,Jack Burditt:Right? I mean, yeah.Michael Jamin:You've done everything. I mean, I know in Simpsons they say, yeah, but we've only done it three times. Right.Jack Burditt:So we can still do it was this week. One more time out of it,Michael Jamin:But that shows 30 years old or whatever.Jack Burditt:God. But it's incredible.Michael Jamin:Alright, well Jack, thank you again so much. Yeah, it really was such a pleasure. This is a good talk. Alright everyone, until next week, keep tuned. Keep writing is what I all, I always say. Alright. Thanks again, Jack.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @ MichaelJaminWriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Q&A on the Netflix series Mulligan with co-creators & co-showrunners Robert Carlock and Sam Means, and supervising director Colin Heck. Moderated by Mara Webster, In Creative Company. After an alien attack destroys the earth, what remains of humanity has the chance to start society over from scratch. THIS Q&A WAS PRE-RECORDED IN APRIL.

Washington DC survives a global disaster — an alien attack. Society must start over. What will go right, and what will go terribly wrong? Robert Carlock and Sam Means (of 30 Rock and Unbreakable Kimmy Schmidt) team-up once again, this time as co-creators of the new adult animated comedy series Mulligan. It premieres this Friday May 12th on Netflix. They, and supervising director Colin Heck (The Simpsons Movie), share what makes the show unique, relevant and quite funny.

I am so EXCITED to share the wonderful conversation I had with the incomparable, unfairly talented, multifaceted and all around extraordinary human, Chelsea Devantez. We discuss so many things: careers, maritime law, how to get promoted in a writers room, the best enchiladas in New Mexico and so much more!Devantez is an Emmy-nominated comedian, writer, director, and actor. Most recently she was Jon Stewart's head writer for The Problem with Jon Stewart, on Apple TV Plus which she left to begin an overall deal with 20th century Fox to develop her own TV shows. Devantez is currently writing a book of essays which will be published by Hanover Imprint at Harper Collins next fall. Last year she sold a single-cam to CBS titled “This is Our Year,” which was inspired by her growing up with a single mom in the Southwest. Devantez hosts the podcast, “Celebrity Book Club,” on Stitcher which was the very first pick for Apple Podcasts Spotlight Program and has been downloaded over 3 million times.Devantez wrote for Tina Fey, Robert Carlock and Meredith Scardino's show Girls5Eva, on Peacock, both seasons of Liz Meriwether's Bless this Mess on ABC, Mike Schur and Josh Malmuth's Abby's on NBC, Jon Stewart's HBO Project, The Opposition with Jordan Klepper on Comedy Central, and Mike Meyers' Gong Show revival.Her short film, “Basic,” which I wrote, directed and starred in, was an official selection of SXSW 2020 as well as Santa Barbara International Film Festival and many more. It won “Best Comedy” of the year at HollyShorts and “Best Indie Short” of the year at Festigious, and several other awards for best score.More about Chelsea Devantez:https://www.chelsearosedevantez.comFollow Chelsea Devantez on Instagram:https://www.instagram.com/chelseadevantezTomacito's - Santa Fehttps://tomasitas.comThe Smith Society Podcast: This is the Smith Society, a podcast about storytellers and storytelling.Thesmithsocietypod.comFind us on Instagram: https://www.instagram.com/thesmithsocietypod/Host: Duane FernandezEmail and ask a question or share a thought: info@voksee.comThe Smith Society theme song by: Steady CadenceSteady Cadence is a brilliant father daughter duo out of North Carolina. There is an episode later this season about the theme song, their unique sound which blends together analog and digital, their inspiration, creative approach and how Cadence, who is currently in middle school, has so much soul.The Smith Society logo: Designer, Chris ScottEdited by: Marshall BakerFollow your dreams, no matter where they take you.See Privacy Policy at art19.com/privacy and California Privacy Notice at art19.com/privacy#do-not-sell-my-info

For five years here at Black Mass Appeal we've strived to pass around the fruit of knowledge and answer everyone's questions about Satanism, Satanists and non-Satanists alike. But we can't reach everyone, and some people have instead gone looking for wisdom on the wrong places, like Quora and the dearly departed Yahoo Answers. So today we're answering the burning questions that nobody asked us… but probably should have.   SHOW LINKS New Yorker: Farewell, Global Liberal Cannibalistic Pedophile Conspiracy!, Robert Carlock (2022) Ashema Deva's online store   GET IN TOUCH WITH BLACK MASS APPEAL Facebook Twitter Instagram Patreon Tabitha Slander's Instagram Discord server   SATANIC BAY AREA Website Facebook Twitter (as @SatanicSF) Instagram Sign up for Satanic Bay Area's newsletter On TikTok as DailyBaphirmations Coffee Hour is the third Thursday of every month from 6 – 8 pm at Wicked Grounds in San Francisco!

This is Play It Forward. Real people. Real stories. The struggle to Play It Forward Episode 470 With Actor Mike Cabellon From Mr. Mayor Mike can be seen reprising his fan-favorite role as Chief Strategist Tommy Tomás in season two of NBC's hit comedy series, "Mr. Mayor," opposite Ted Danson and Holly Hunter. Created by Tina Fey and Robert Carlock, "Mr. Mayor" follows a retired businessman (Danson) who runs for mayor of Los Angeles to prove he's "still got it." Season two of "Mr. Mayor" premieres on NBC on March 15, 2022. Additional acting credits for Mike include Netflix's "Orange Is the New Black," the HBO dramedies "High Maintenance," and "Crashing," as well as guest appearances in NBC's "New Amsterdam" and Netflix's "Luke Cage."

This is Play It Forward. Real people. Real stories. The struggle to Play It Forward Episode 470 With Actor Mike Cabellon From Mr. MayorMike can be seen reprising his fan-favorite role as Chief Strategist Tommy Tomás in season two of NBC's hit comedy series, "Mr. Mayor," opposite Ted Danson and Holly Hunter. Created by Tina Fey and Robert Carlock, "Mr. Mayor" follows a retired businessman (Danson) who runs for mayor of Los Angeles to prove he's "still got it." Season two of "Mr. Mayor" premieres on NBC on March 15, 2022. Additional acting credits for Mike include Netflix's "Orange Is the New Black," the HBO dramedies "High Maintenance," and "Crashing," as well as guest appearances in NBC's "New Amsterdam" and Netflix's "Luke Cage."

This is Play It Forward. Real people. Real stories. The struggle to Play It Forward Episode 470 With Actor Mike Cabellon From Mr. Mayor Mike can be seen reprising his fan-favorite role as Chief Strategist Tommy Tomás in season two of NBC's hit comedy series, "Mr. Mayor," opposite Ted Danson and Holly Hunter. Created by Tina Fey and Robert Carlock, "Mr. Mayor" follows a retired businessman (Danson) who runs for mayor of Los Angeles to prove he's "still got it." Season two of "Mr. Mayor" premieres on NBC on March 15, 2022. Additional acting credits for Mike include Netflix's "Orange Is the New Black," the HBO dramedies "High Maintenance," and "Crashing," as well as guest appearances in NBC's "New Amsterdam" and Netflix's "Luke Cage."

This is Play It Forward. Real people. Real stories. The struggle to Play It Forward Episode 470 With Actor Mike Cabellon From Mr. Mayor Mike can be seen reprising his fan-favorite role as Chief Strategist Tommy Tomás in season two of NBC's hit comedy series, "Mr. Mayor," opposite Ted Danson and Holly Hunter. Created by Tina Fey and Robert Carlock, "Mr. Mayor" follows a retired businessman (Danson) who runs for mayor of Los Angeles to prove he's "still got it." Season two of "Mr. Mayor" premieres on NBC on March 15, 2022. Additional acting credits for Mike include Netflix's "Orange Is the New Black," the HBO dramedies "High Maintenance," and "Crashing," as well as guest appearances in NBC's "New Amsterdam" and Netflix's "Luke Cage."

This is Play It Forward. Real people. Real stories. The struggle to Play It Forward Episode 470 With Actor Mike Cabellon From Mr. Mayor Mike can be seen reprising his fan-favorite role as Chief Strategist Tommy Tomás in season two of NBC's hit comedy series, "Mr. Mayor," opposite Ted Danson and Holly Hunter. Created by Tina Fey and Robert Carlock, "Mr. Mayor" follows a retired businessman (Danson) who runs for mayor of Los Angeles to prove he's "still got it." Season two of "Mr. Mayor" premieres on NBC on March 15, 2022. Additional acting credits for Mike include Netflix's "Orange Is the New Black," the HBO dramedies "High Maintenance," and "Crashing," as well as guest appearances in NBC's "New Amsterdam" and Netflix's "Luke Cage."

Host Alison Herman talks to Meredith Scardino, the creator, showrunner, writer, and producer of GIRLS5EVA, about the show's writing and songwriting process, what you learn from mentors like Stephen Colbert, Tina Fey, and Robert Carlock, and why so much of this series is about having agency over your own life. Meredith Scardino is a New York-based screenwriter, showrunner, and producer. After working on the LATE SHOW WITH DAVID LETTERMAN in the mid-2000s, she went on to write for television comedies such as THE COLBERT REPORT and UNBREAKABLE KIMMY SCHMIDT. She also served as a co-executive producer in the final two seasons of the latter show. Her current project is the Peacock musical comedy series GIRLS5EVA. The series centers on four women who were part of a girl group named Girls5eva, which was briefly popular around the year 2000 before fading into one-hit-wonder status. Now unfulfilled in their various lives, the women are offered an unexpected chance at a comeback when their song is sampled by an up-and-coming rapper and decide to reunite to reclaim their prior success. -- Read shownotes, transcripts, and other member interviews: www.onwriting.org/ -- Follow the Guild on social media: Twitter: @OnWritingWGAE | @WGAEast Facebook: /WGAEast Instagram: @WGAEast

Mike Cabellon is an actor, producer, comedian, writer & director. From performing on stages across the country to starring in some of television's most exciting sitcoms, and creating, writing, and producing award-winning digital content, Mike Cabellon is quickly cementing his name as one to watch in Hollywood. Currently he's starring as Chief Strategist Tommy Tomás in season two of NBC's hit comedy series, "Mr. Mayor," opposite Ted Danson and Holly Hunter; created by Tina Fey and Robert Carlock, so check it out. He's also been in Orange Is the New Black, High Maintenance, Crashing, New Amsterdam, Luke Cage and is an active performer, director, producer, and writer for the award-winning Story Pirates - a nationally renowned group of top comedians, musicians, best-selling authors, and incredible teachers who create exciting content that celebrates the imaginations of children. Their marquee program, the “Story Pirates Podcast” has been downloaded over 35 million times and consistently ranks in the top three for kids and family audio programming in the world, having won multiple iHeartRadio Podcast Awards, a 2020 Webby Award, and featured special guests such as Billy Eichner, Bowen Yang, Dax Shepard, John Oliver, and Lin-Manuel Miranda, to name a few. In this wide-ranging chat we talk about not having a plan B, pursuing entertainment, being a first-generation immigrant, happiness, doing improv at a young age, creativity, giving back, children's entertainment, hobbies and being fired. The video footage of this entire chat is now out as well! So check them out on YouTube under Michael Kahan Check Mike out on: Instagram: https://www.instagram.com/mikecabellon/ Twitter: https://twitter.com/mikecabellon ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Dans cette reco du weekend, voici trois comédies décalées à voir sur Canal+. Schitt's Creek Six saisons et que du bonheur. La comédie canadienne de Dan et Eugene Levy fils et père a fait craquer tout le monde. Récompensée pour sa dernière saison avec pas moins de 5 Emmy Awards dans des catégories principales, Schitt's Creek est partie de bien loin. Très loin. Quand les Rose, une famille fortunée se retrouve soudainement ruinée (nos politiciens devraient s'en inspirer), ses quatre membres vont déménager à Schitt's Creek, une petite bourgade qui leur appartient. L'idée est de la remettre d'aplomb pour qu'elle puisse être revendue et qu'ils puissent se faire de l'argent. Forcément, rien ne se passe comme prévu… https://youtu.be/W0uWS6CnC2o Schitt's Creek fait partie de ces séries où la première saison a du mal à trouver sa cadence. Mais c'est relativement habituel pour une comédie et au moins elle a eu la chance d'avoir eu la possibilité de révéler tout son potentiel. La comédie de Pop (la chaîne qui a repris One Day At a Time après son annulation sur Netflix) est bizarre avec des personnages plus excentrique les uns que les autres (et des tenues tout aussi originales). La mère tout d'abord, Moira Rose interprétée par la géniale Catherine O'Hara est une ancienne actrice à succès qui n'a rien fait depuis des années mais qui joue toujours aux divas. Le père, Johnny Rose, le plus terre-à-terre du lot mais qui s'est quand même fait avoir par le fisc. La sœur, Alexis Rose, jet-setteuse de son état qui n'a plus les moyens d'être influenceuse. Et enfin David Rose, petite licorne pansexuelle qui a le jugement facile. Il ne va pas être facile de s'intégrer avec les habitants pécores de la commune, surtout quand on ne fait rien pour. Schitt's Creek est une série charmante, avec de la représentation LGBTQ+ et du drama familial comme on en veut pour rire et parfois pleurer avec les Rose. Starstruck Comédie créée par la comique Rose Matafeo et Alice Snedden, Starstruck offre un twist moderne du plot de Coup de foudre à Notting Hill. Après un coup d'un soir, Jessie une jeune femme lambda (Rose Matafeo) tombe amoureuse de Tom (Nikesh Patel) superstar de film. Matafeo n'a pas la langue dans sa poche et nous provient droit d'Auckland en Nouvelle-Zélande. La Kiwi joue de son accent et de ses origines en étant fraîchement débarquée à Londres. Cette co-prod BBC Three et HBO Max est en tout cas une belle surprise. On ne s'ennuie jamais dans ces six épisodes qui passent en un clin d'œil. https://youtu.be/qVJJU2bB9n8 Starstruck ne s'adresse évidemment pas uniquement aux amateurs de rom-com MAIS les spécialistes du genre vont pouvoir relever de nombreuses références et voir leurs cœurs fondre un petit peu devant ce couple improbable. L'humour décalé de sa créatrice et le choc des cultures fonctionnent très bien aussi et rajoutent une dose de modernité dans un genre parfois trop classique. On n'oublie pas non plus l'amitié qui est un point important dans la série et vous obtenez un résultat vraiment étonnant. Mention spéciale à Minnie Driver qui apparait dans quelques épisodes pour vous dire que le talent reconnait le talent. Cerise sur le gâteau, une saison 2 est déjà prévue par HBO Max ! Girls5Eva On termine cette reco sur Girls5Eva, créée par Meredith Sardino (Unbreakable Kimmy Schmidt) et produite par Tina Fey et Robert Carlock entre autres. La comédie musicale se penche sur un girl's band des années 90 baptisé Girls5Eva qui n'a rien fait depuis 20 ans et dont les membres sont en froid, qui va faire un comeback soudain grâce à un rappeur qui a utilisé un sample d'une de leurs chansons. Ni une ni deux, les membres du groupe se remettent ensemble pour tenter de sortir de nouveaux titres. Girls5Eva parle de seconde chance, de la difficulté de gérer la vieillesse quand on est une femme, et bien sûr le tout sur le doux son des voix de Sara Bareilles, Renee Elise Goldsberry (Hamilton), Busy Philipps (Cougar Town), Paula Pell (Saturday Night Live), et parfois Ashley Park (Emily in Paris). Pour les aficionados de Broadway, personne ne pouvait rêver de mieux en matière de casting. La première saison de 8 épisodes lance vraiment la série qui aura droit à une saison 2 sur Peacock, la plateforme digitale de la NBC. https://youtu.be/xuCOvjIkI64 Girls5Eva regorge de sororité et de bienveillance, tout en traitant de sujets personnels identifiables, traits classiques des séries de Tina Fey. On est moins dans l'absurde qu'Unbreakable Kimmy Schmidt, mais il y a toujours ce côté un peu loufoque appuyé par des paroles de chansons lunaires. Ces quadragénaires semblent aussi perdues dans leurs vies que n'importe quel vingtenaire, et c'est aussi ce qui fait leur charme. Mis à part ça, la plupart des chansons (sauf peut-être le générique) ne reste pas trop en tête et sont moins intégrées à l'histoire que dans un Crazy Ex-Girlfriend par exemple. Les personnages ne vont pas entamer un numéro musical à tout va, mais performent dans le réalisme de l'histoire. Une véritable comédie à savourer ! Cet article a été écrit dans le cadre d'un partenariat avec Canal+.

Taking It Down is back this week with only Adam and Blaine manning the ship. They first talk about putting their vaccines to the test (1:00), with Adam giving concerts for elementary schools (1:51)! That's an experience recounted that no one wants to miss! Then the guys catch up a little on The Challenge: All Stars, specifically two stars of the show that Blaine questions (8:27). Before the break, the guys give the listeners a head's up on the Peacock streaming show Girls5eva, which is another brain child of Tina Fey, Robert Carlock, and Meredith Sardino, but is it any good (24:29)? And lastly as is their custom of late, Taking It Down cannot help but dissect the leads of the Mare of Easttown show, and in this case, it's all about the third episode with a plethora of guesses on who did what (35:30). Tune in every Tuesday or subscribe so that you don't miss an episode. Email or contact Taking It Down on social media and let your voice be heard!

This week The TV Boys sit down to discuss Tina Fey and see how well we can read our outline. Her work is some of the best in television. Whether she is creating shows, performing on screen or both, her work is second to none.

Holly Hunter's had unforgettable roles in some of the best movies of the last 30 years. She's been nominated for several Academy Awards for her roles in films like Thirteen, The Firm, and Broadcast News. Her role in 1993's The Piano earned her an Academy Award. She starred in O Brother, Where Art Thou? and Raising Arizona – two Coen Brothers classics! Her latest role is as Arpi Meskimen on Mr. Mayor, the new sitcom from Tina Fey and Robert Carlock. Holly's one of the most talented actors in the game, and we're thrilled to share this conversation. We talk about the new sitcom Mr. Mayor. Plus, we'll dive into her portrayal of Jane Craig in Broadcast News. She'll also throw us back to the time she had just moved to New York City and was roommates with Jason Alexander, long before they had their breaks in showbiz.

Some of our first pilots of the new year include NBC's Mr. Mayor, starring Ted Danson and a script from Tina Fey and Robert Carlock; also Netflix's Lupin, which is a loose adaptation of a series of French novels about a "gentleman thief." Also chats about Armie Hammer's DMs, a really bad Creek episode, the glitz and glamour of a presidential inauguration, and much much more! Tweet your thoughts to @ShowShowPodcast!

Pop Break’s Podcasts Editor Alex Marcus is joined by editor-in-chief Bill Bodkin, and TV Columnist Josh Sarnecky to talk about the happenings in television. Here’s the format of the show: The Best Thing I Saw on TV Last Month – Alex, Bill, and Josh talk about a show/episode/event they liked from the last month including Disney+'s Marvel Legends; BBC America's The Watch & Doctor Who; and Season 1 of Star Wars: The Clone Wars News Break – Alex, Bill, and Josh discuss the surprising news that Roku has purchased the rights to 75 Quibi originals to air on their ad-supported streaming platform, The Roku Channel, later this year, check out Roku's statement for more. Streaming Wars – Alex, Bill, and Josh pick a streamer they think “won the month” based on new shows airing/upcoming shows announced etc. Bill & Josh decide Netflix won the month with their splashy debut of the Shonda Rhimes period soap Bridgerton and their big announcement of all the movies that are headed to their service this year. Meanwhile, Alex went a different direction, handing the prize to HBO Max for the way they owned the holiday season with the most talked about film (Wonder Woman 1984) and TV series (The Flight Attendant). Series Spotlight – Alex, Bill, and Josh watched Mr. Mayor, the latest from 30 Rock's Tina Fey & Robert Carlock so you don't have to. They found the cast to be tremendously talented, though better served in past projects (check out Vella Lovell in this excellent musical number from Crazy Ex-Girlfriend to see what we mean), the writing to be pretty stale, and the premise to be tone deaf at best. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome to 2021! Anything happen in 2020? Well Steve and Chris are here with the Fall Premieres... wait it's January? Uh well, you see.  We watched Mr Mayor, the new vehicle for Tina Fey and Robert Carlock to entertain us, and we watch Call Me Kat, the new Miyam Bialik Vehicle. We also talk a little bit about Discovery + and The History of Swear Words on Netflix. All this plus Crossovers and 30 second pitches.

2021's sitcom/work place comedy created by Tina Fey and Robert Carlock stars Ted Danson as the titular character. With COVID still raging, this light humored show is filled with a cast of known actors and comedians who strive to bring even the most tepid jokes to life. Our review goes into why we think you should skip to the later episodes of the season.

On today's What to Watch: Gordon Ramsay is back with a new season of Hell's Kitchen; ABC expands its game show slate with Celebrity Wheel of Fortune, The Chase (featuring Jeopardy's Greatest of All Time players), and The Hustler hosted by Craig Ferguson; and we preview NBC's new comedy Mr. Mayor starring Ted Danson, and created by Tina Fey and Robert Carlock. EW's Samantha Highfill tells us about her latest binge, Amazon Prime's The Wilds. Plus, daily entertainment news headlines, trivia, and Today in Entertainment History. More at ew.com, ew.com/wtw, and @EW. Host/Producer: Gerrad Hall (@gerradhall); Editor/Producer: Joshua Heller (@joshuaheller); Writer: Tyler Aquilina (@tyler_aquilina); Executive Producers: Shana Naomi Krochmal (@shananaomi) and Carly Usdin (@carlytron).

On this week’s episode of Millions of Screens, Ben regales Libby and Leo on the glory of Ted Danson portraying a character high on pot in NBC’s “Mr. Mayor,” the latest comedy from Tina Fey and Robert Carlock. This leads to brief discussion of the best portrayals of being high in television history, and whether we’ll soon be entering the Golden Age of Pot on TV. Also, the gang talk about the reportedly huge debut of “Bridgerton” on Netflix, and the decision by “The Crown” to run Josh O’Connor and Emma Corrin as Lead Actors as opposed to Supporting Actors at The Golden Globes.

"Mr. Mayor" stars Ted Danson and Holly Hunter discuss working together for the first time, developing a fast chemistry and learning how to perform the rapid-fire jokes that are the hallmark of a Tina Fey and Robert Carlock script. They also share what it's like to work in quarantine, and Danson, who plays the mayor of Los Angeles in the series, reveals whether he has any political aspirations of his own.

As an actor, social media influencer, New York Times best selling author, one time talk show host, and newly anointed podcast host, one thing is for certain: Busy Philipps is ALWAYS busy. Brilliantly cast as a 90’s girl group member, Philipps’ latest project is Girls5eva, a Peacock comedy from Tina Fey, Robert Carlock and Meredith Scardino. The Hollywood veteran (though it perpetually feels like she’s the new girl in town, has been at it for 20 plus years. With noted roles in Judd Apatow’s cult favorite, Freaks + Geeks, to her part on Dawson’s Creek, and her beloved character Laurie on Cougar Town, Busy brings her je nais sais quoi to the entertainment industry---that special sauce that is, well, strictly Busy. She’s cut from her own cloth as they say, and fearless at that. Tackling her own talk show, writing a book, launching a podcast, open and honest always---Busy Philipps makes sure her voice is heard. Listen in and catch the uncontainable enthusiasm as we discuss her career, relationships, experiences to learn from, and more--- including the things this influencer loves to love, and that you can discover and shop here: 1. This Will Only Hurt a Little by Busy Philipps https://rstyle.me/+_G-YIqnLkQICgGI1ME7S3Q 2. Charm 18K Gold Charm by Irene Neuwirth https://ireneneuwirth.com/products/one-of-a-kind-pet-portrait-charm-rainbow-moonstone-frame-18k-gold_pos=6&_sid=b6cb2da97&_ss=r&variant=31124987248692 3. Mini Turquoise Inlay Heart by Jennifer Meyer https://rstyle.me/+h7d-jIdTm4ur291-pDJ3lQ 4. Baby Natasha Hoops by Jennifer Fisher https://rstyle.me/+1pCnG2a9V0lFVQ0dzIY4_Q 5. Small Etched Locket by Sarah Hendler https://www.sarahhendler.com/collections/estate-jewelry/products/small-etched-locket 6. Amethyst Ultimate Guardian Pendant Gold Necklace by Rock + Raw https://rockandrawjewellery.com/collections/all-guardian-pendants/products/amethyst-mini-guardian-pendant-gold 7. Matte Liquid Lip in Brazen by Flesh Beauty https://www.fleshbeauty.com/products/proud-flesh-matte-liquid-lip?_pos=1&_sid=27fcd73fa&_ss=r&variant=22532918247506 8. Adult Mask in Duchess Blue Seersucker by Royal Jelly Harlem https://royaljellyharlem.com/collections/adults-kids-masks/products/adult-mask-in-blue-seersucker 9. Satin Mask in Lilac by Epona Valley https://www.eponavalley.com/collections/masks/products/ev-satin-mask 10. Leopard Face Mask and Headband Bundle by Lele Sadoughi https://shrsl.com/2k7an 11. Set Of 3 Pastel Face Masks by Lele Sadoughi https://shrsl.com/2k1ke 12. Weekend Oversized Hoodie by Aerie https://rstyle.me/+B9PRR6JMNYyxjLJL81pKeA 13. Weekend Jogger by Aerie https://rstyle.me/+R2ivYCBR9rmulT0Rhh3tdQ

* Please rate, review, subscribe, share, do whatever to help out the pod! Thanks in advance! * This week on This Better Be Good, your hosts Mike and Gerrit see the new, straight to Netflix interactive movie - "Unbreakable Kimmy Schmidt: Kimmy vs the Reverend." Branching off of the critically lauded show created by Tina Fey and Robert Carlock, comes the new choose your own adventure experience of Kimmy Schmidt. Starring Ellie Kemper, Tituss Burgess, Carol Kane, Jane Krakowski, Jon Hamm, Daniel Radcliffe, Lauren Adams, Sara Chase, Sol Miranda, Amy Sedaris, Johnny Knoxville and a slew of others, one question remains - Are the boys excited? Is the movie any good? Take a listen (or a watch over on YouTube) to find out! https://www.youtube.com/watch?v=YBaqF3Gw28E&list=PL56PxH8R3cikg7WuPuU8TOv7eCrt8SZOZ&index=1 - TBBG Playlist https://www.youtube.com/user/GerritElzinga22?sub_confirmation=1 - Subscribe You can fill the TBBG team in on what YOU thought of the movie with any questions, concerns, or comments by subscribing, liking, commenting and just by reaching out on the social medias below. Posting a review on whatever app you're listening on would be incredibly appreciated. It really does help the guys. facebook.com/thisbetterbegoodpodcast @TBBGpodcast - Twitter Mike Logan can be found at: facebook.com/Icecoldcomedian @Icecoldcomedian - Twitter & Instagram If you're in the Grand Rapids, Michigan area - come check out the shows that Mike runs at The Garage Bar, The Knickerbocker - New Holland Brewing, and the new location The Listening Room @ Studio Park! Go like those pages here: facebook.com/thegaragebarcomedyshow facebook.com/newhollandknickerbocker facebook.com/listeningroomgr Mike will also be recording an album September 30th at said Listening Room location. Details to come! Gerrit Elzinga can be found at: facebook.com/GElzinga1 @GerritElzinga - Twitter @gerrit__elzinga - Instagram Gerrit's latest comedy album entitled "Bullet-Biter: The Emcee Sessions" is available NOW. Click below to select your listening service! https://linktr.ee/gerrit__elzinga This episode is sponsored by: Anchor anchor.fm Perfecta Podcast Network perfectapodcastnetwork.com As always, thanks for listening! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisbetterbegood/message Support this podcast: https://anchor.fm/thisbetterbegood/support

Hey! It's Tina Fey and Robert Carlock - the legendary co-creating and writing team behind 30 Rock and Unbreakable Kimmy Schmidt, two of the funniest TV shows ever! Tina and Robert join us to talk about their new Netflix special, Unbreakable Kimmy Schmidt: Kimmy vs The Reverend, an interactive, choose-your-own-adventure style special episode. Plus: SNL, 30 Rock, and why the teeth are the outside bones! Not the inside bones!

Mike Cabellon is a Los Angeles-based Filipino-American actor (Orange Is The New Black, Crashing, et al.) and writer (Comedy Central, Story Pirates Podcast). He was trained at the UCB and is currently an active performer, director, and writer for the Story Pirates. He co-wrote and co-starred Night Crew which landed him a development deal with Comedy Central. He recently booked a pilot as series regular written by Tina Fey and Robert Carlock starring Ted Danson, Holly Hunter and Bobby Moynihan. You can follow him at @MikeCabellon on Twitter and Instagram and check out his videos at www.mikecabellon.com.

First Draft Episode #202: D.C. Pierson D.C. Pierson, comedian, writer, filmmaker and author of The Boy Who Couldn’t Sleep and Never Had To and Crap Kingdom, and co-writer and star of indie comedy movie Mystery Team, talks about getting more vulnerable with age, using his fiction to explore the gap between what we expect of the world and what turns out to be true, and being sick of not finishing things. Links and Topics Mentioned In This Episode Dan Eckman and Meggie McFadden are two comedians D.C. has worked with for years, in part on an adaptation of D.C.’s first book, The Boy Who Couldn’t Sleep and Never Had To D.C. loved the cover of his dad’s copy of Jurassic Park by Michael Crichton Rubber Soul was the one Beatles album D.C.’s family had on cassette or CD In conjunction with the documentary The Beatles Anthology, detailed compilations of Beatles ephemera were released in three double-CD sets: Anthology 1, Anthology 2, and Anthology 3. D.C. listened to these more than the regular Beatles albums, which means he listened to a lot of alternate versions of songs and random studio chatter. He credits that with jumpstarting much of his curiosity as a storyteller. While D.C. attended the Rita and Burton Goldberg School of Dramatic Writing at NYU’s Tisch Institute of Performing Arts, one of his teachers was Charlie Rubin, who wrote for Seinfeld and In Living Color, and was a showrunner for Law & Order: Criminal Intent Derick was D.C.’s improv group which formed at NYU, made up of D.C. Pierson, Dominic Dierkes, Donald Glover, Dan Eckman, and Maggie McFadden Mystery Team was a fully independently-made movie that the Derick Comedy group made, which had a screening at Sundance, and led the group to move to Los Angeles Upright Citizens Brigade improv theater is where D.C. honed his comedy and performing chops during and after college The concept for Mystery Team is basically: what if characters from Encyclopedia Brown never really grew out of their idealized, 1950s childhood, and kept trying to solve crimes? Donald shared what he learned writing for 30 Rock (with Tina Fey, Robert Carlock, Matt Hubbard, Kay Cannon) with his Derick Comedy friends to help them write a tight script for Mystery Team Nathan Rabin, who wrote for The A.V. Club at the time, wrote a glowing review there for Mystery Team that D.C. credits with helping the movie gain momentum A passing encouraging comment from comedian, actor, writer, and musician Eliza Skinner gave D.C. the boost he needed to start writing a book Dianne McGunigle, manager and a producer of Atlanta, was D.C. agent at the time that he wrote a first draft of The Boy Who Couldn’t Sleep… and she read it quickly, a favor for which D.C. is forever grateful Gerry Howard, who edited David Foster Wallace’s The Broom of the System and Girl with Curious Hair, as well as Hanya Yanagihara’s A Little Life, was the editor D.C. worked with for The Boy Who Couldn’t Sleep… D.C. was starstruck to be going to the offices where Sloane Crosley—essayist and writer known for I Was Told There’d Be Cake, How Did You Get This Number and her newest, Look Alive Out There—also worked. The Los Angeles Times gave The Boy Who Couldn’t Sleep… a lovely review D.C. was inspired by psychologist Carol Dweck’s book, Mindset: The New Psychology of Success One of D.C.’s favorite English teachers sent him Of Human Bondage by W. Somerset Maugham provided a quote that summed up what he likes to explore in all his writing To me, Crap Kingdom is asking, “What if Lord of the Rings was deeply uncool?” Stephen King’s On Writing is one of the writing books that has inspired D.C. in his fiction process One of D.C.’s earliest imrpov teachers, Owen Burke, referred to the following passage from Tom Stoppard’s Arcadia, on the endurance of human thought and creation: “We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. But there is nothing outside the march so nothing can be lost to it. The missing plays of Sophocles will turn up piece by piece, or be written again in another language. Ancient cures for diseases will reveal themselves once more. Mathematical discoveries glimpsed and lost to view will have their time again. You do not suppose, my lady, that if all of Archimedes had been hiding in the great library of Alexandria, we would be at a loss for a corkscrew?” D.C. sometimes teaches at Writing Pad, a writing program offered online and in L.A./S.F. Subscribe To First Draft with Sarah Enni Every Tuesday, I speak to storytellers like Veronica Roth, author of Divergent; Linda Holmes, author and host of NPR’s Pop Culture Happy Hour podcast; Jonny Sun, internet superstar, illustrator of Lin-Manuel Miranda’s Gmorning, Gnight! and author and illustrator of Everyone’s an Aliebn When Ur a Aliebn Too;  Michael Dante  DiMartino, co-creator of Avatar: The Last Airbender; John August, screenwriter of Big Fish, Charlie’s Angels, and Charlie and the Chocolate Factory; or Rhett Miller, musician and frontman for The Old 97s. Together, we take deep dives on their careers and creative works. Don’t miss an episode! Subscribe in Apple Podcasts, Spotify, Stitcher, or wherever you get your podcasts. It’s free! Participate To leave a voicemail for a future episode, call 818-533-1998. Or you can email the show at firstdraftwithsarahenni@gmail.com. Rate, Review, and Recommend How do you like the show? Please take a moment to rate and review First Draft with Sarah Enni in Apple Podcasts, Google Play, or wherever you listen to podcasts. Your honest and positive review helps others discover the show -- so thank you! Is there someone you think would love this podcast as much as you do? Please share this episode on Facebook, Twitter, Pinterest, or via carrier pigeon (maybe try a text or e-mail, come to think of it). Just click the Share button at the bottom of this post! Thanks again!

DP Matthew Clark talks to Ben about his early career, getting his big break on the NBC comedy series “30 Rock” from cinematographer Vanja Cernjul and working with the brilliant Tina Fey, Robert Carlock and Alec Baldwin. He discusses the importance of creating a look for a comedic series that keeps viewers happy and comfortable, and how to light for comedy to make it more dramatic and interesting but not distracting from the story. Matt's recent film “Late Night,” starring Emma Thompson and Mindy Kaling, was directed by his film school friend Nisha Ganatra. The two crafted a very naturalistic and approachable look for the movie.

It’s the series finale of “Unbreakable Kimmy Schmidt”, Episodes 11 & 12. Kimmy is out of a home, Jacqueline is out of an office, Titus’ dreams come true and Lillian wants to be a ghost...AfterBuzz Hosts Tsahai Wilson, Caroline Thayer and Candice Cruz cover the final two episodes of our beloved show! ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Hosts Caroline Thayer and Laura L. Thomas talk about all the craziness of an alternative universe in episode 9 and the crazy engagement that changes EVERYTHING! Join us on Sunday for our final recap of Unbreakable Kimmy Schmidt. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It’s the end of an era, but the beginning of our final coverage of Unbreakable Kimmy Schmidt! Hosts Tsahai Wilson, Caroline Thayer and Laura L. Thomas cover Season 4, Episodes 7 & 8 - the return of Mikey, the return of Donna Maria, the plight of Jacqueline’s new found cougar status and the peril of Mr. Frumpus. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Laura L. Thomas, Tsahai Wilson, Caroline Thayer, and Candice Cruz discuss Predictions. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Laura L. Thomas, Tsahai Wilson, Caroline Thayer, and Candice Cruz discuss episodes 4 - 6. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Laura L. Thomas, Tsahai Wilson, Caroline Thayer, and Candice Cruz discuss episodes 1 - 3. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Comedy writer and producer Robert Carlock's spectacular career includes writing and producing credits on iconic shows such as "Saturday Night Live," "Friends" and "30 Rock." Most recently he co-created the Netflix original series "Unbreakable Kimmy Schmidt,". As a leader in a creative field, Robert doesn't rely on data to make decisions. Instead, he draws largely from his intuition and simply knowing what's going to be funny. And untethering creativity is a lesson all companies and industries can learn from.

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson and Candice Cruz discuss episodes 11, 12 & 13. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson, Laura L. Thomas, Caley Rose, and Candice Cruz discuss episodes 11 & 12. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson, Laura L. Thomas, Caley Rose, and Candice Cruz discuss episodes 9 & 10. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson, Laura L. Thomas, Caley Rose, and Candice Cruz discuss episodes 7 & 8. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson, Laura L. Thomas, Caley Rose, and Candice Cruz discuss episodes 5 & 6. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Females are strong as hell... and GREAT at analyzing pop culture. Therefore, this week, Kat and Jocelyn take on Tina Fey and Robert Carlock's follow up to 30 Rock, The Unbreakable Kimmy Schmidt! We discuss cultural appropriation, crappy jokes, amazing one-liners, and Jocelyn's favourite song. This episode is brought to you by TeePublic. Check out www.TeePublic.com and discover your next favourite Tee. Psst... they also have nerdy hoodies, sweaters, baseball tees and long sleeves. Check out our favourite designs at www.TeePublic.HateLovePodcast.com Edited by Andrew Ivimey and produced for the From Superheroes network. Visit www.FromSuperheroes.com for more podcasts, YouTube series, web comics, and more.

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson, Laura L. Thomas, and Candice Cruz discuss episodes 3 & 4. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Tsahai Wilson, Laura L. Thomas, Caley Rose, and Candice Cruz discuss episodes 1 & 2. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The third season of Tina Fey and Robert Carlock's complicated dark comedy made some important choices for its characters — but how did they affect the show? Liz and Ben dig in.

Comedy writer and producer Robert Carlock's spectacular career includes writing and producing credits on iconic shows such as "Saturday Night Live," "Friends" and "30 Rock." Most recently he co-created the Netflix original series "Unbreakable Kimmy Schmidt," now entering its third season. As a leader in a creative field, Robert doesn't rely on data to make decisions. Instead, he draws largely from his intuition and simply knowing what's going to be funny. And untethering creativity is a lesson all companies and industries can learn from.

Welcome Renegade Nation it’s me Naughty Nicole and it’s time for another Renegade Review. And we’re going to be looking at NBC’s attempt to win back their throne for must see TV with a new sitcom called Great News. And the first thing you’ll notice about this new show is the disturbing similarities to 30 Rock and The Unbreakable Kimmy Schmidt, and you wouldn’t be wrong. With Great News though, we’re following a news producer, Katie, played by Briga Heelan who we find has an unnatural attachment to her mother who has her work life disrupted when her boss hires as an intern for the news station, her loving and overbearing mom played by the great Andrea Martin. And while the focus is news versus late night, the frustrated goofball at the center of a constantly careening television production has a familiar tone. From a genetic perspective, the similarities make some sense. Great News was created by Tracey Wigfield, who's written for 30 Rock and The Mindy Project, and its executive produced by Tina Fey and Robert Carlock. That makes it Fey and Carlock's EP follow-up to Unbreakable Kimmy Schmidt, their follow-up to, of course, 30 Rock itself. And if Katie's mom is her Tracy Jordan — the unstoppable force that suddenly upends an already delicate work environment — then her Jenna Maroney is Portia played by Nicole Richie, as the brazenly needy and overconfident co-anchor who constantly frustrates Chuck, the puffed-up anchor played by John Michael Higgins at the center of the show. Admittedly, the entire cast doesn't map that neatly, but when you hear the music from Jeff Richmond and Giancarlo Vulcano — who also scored 30 Rock and Kimmy Schmidt — you'd be forgiven for thinking you're back in Liz Lemon World. And that's not a bad thing at all. Like 30 Rock, Great News is a joke-based comedy. That might seem self-evident, but it's not, really. As comedies have become more tonally experimental and often much darker, the visual goofs and quick hits that are part of the Fey/Carlock house style executed so well here by Wigfield can't be taken for granted. The fact that the equivalent of the Kathie Lee/Hoda pairing in Katie's world is called Morning Wined Up With Kelly and Mary Kelly is just silly fun; it's a bit that proudly disclaims thematic ambition. It's the kind of comedy with jokes in it.

JON HAMM is best known for revolutionizing how society envisions masculinity, in all of its raw sensuality, insatiable competitive hunger, arrogance, and corrosive loneliness, in his deft portrayal of Don Draper, but he is equally deft at comedy. Happy to laugh at himself, a necessity when you look like (and were) a star high school football player, Hamm is clearly a team player which makes him enjoyable to work with, as evidenced in how often TV creators like Tina Fey and Robert Carlock find excuses to cast him. Of course, Hamm is ultimately cast because he delivers. In Mad Men Bridesmaids, 30 Rock, and SNL, he seems to only hit home runs. Still, Hamm, like any actor, needed directors and show creators to go to bat for him when he hadn’t yet had the opportunities to prove himself. Hamm says he struggled for years in his early twenties. (I thought that was the definition of being in your twenties). He scored his first big break, a recurring role on Lifetime’s The Division, as the only non-female cop....

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Joe Doyle and Sam Davidson discuss episodes 11 - 13. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Join Lily and Scott as they have a blast, breaking down "Kimmy Goes Roller Skating!", the second season premiere of the hilarious Netflix original series "Unbreakable Kimmy Schmidt!" Listen as they discuss the many positive reviews and accolades received by the first season, including seven primetime Emmy nominations! They'll also discuss the great performances by Ellie Kemper, Titus Burgess, and Carol Kane, as well as the masterful joke writing of creators Tina Fey and Robert Carlock, and so much more! (Including some silverfish talk.) So shake off the dead silverfish, sit back with a deep dish ham/clam, and enjoy the show!  Please email us at hittingplayshow@gmail.com  Hitting Play on Twitter: http://www.twitter.com/HittingPlay  Scott's Twitter: http://www.twitter.com/MCandFriends  Scott's Vine: http://www.vine.co/MCandFriends  Lily's Twitter: http://www.twitter.com/Lilipution22  Lily's YouTube: http://www.youtube.com/lilipution22  Lily's Website: http://www.lilianbunyea.com/  Shawn's Twitter: http://www.twitter.com/Weazel1978 

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hosts Annabelle DeSisto, Joe Doyle, and James Janisse discuss episodes 9 & 10. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, host Annabelle DeSisto, Joe Doyle, and James Janisse discuss episodes 7 & 8. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Apoie o podcast do Spoilers no Patreon! Saiba mais em: http://www.patreon.com/spoilerstv No Spoilers no Intervalo dessa semana, os colunistas Leonardo La Terza, Luiz Guilherme Moura e Sylvia Ferrari se reuniram para conversar sobre a segunda temporada de uma das nossas séries favoritas: Unbreakable Kimmy Schmidt. A série da Netflix, criada e desenvolvida por Tina Fey e Robert Carlock, retornou em abril para sua nova temporada. O que gostamos? O que não gostamos? E o que mais queremos ver no futuro de Kimmy Schmidt? Atenção: O podcast contém spoilers sobre a série inteira! Leia mais em: http://spoilers.tv.br

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, host James Janisse, Joe Doyle, and Sam Davidson discuss episodes 5 & 6. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, host Annabelle DeSisto, Joe Doyle, and James Janisse discuss episodes 3 & 4. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Morgan and Gavia discuss Tina Fey and Robert Carlock's Netflix sitcom "Unbreakable Kimmy Schmidt," including but not limited to: boggling at its racism, comparing it to "30 Rock," admiring its depiction of trauma and therapy, and considering the problem with TV writers' rooms. Plus, a tease for next week.

AFTERBUZZ TV — Unbreakable Kimmy Schmidt is a weekly "after show" for fans of Netflix's Unbreakable Kimmy Schmidt. In this show, hostAnnabelle DeSisto, Joe Doyle, and Sam Davidson discuss episodes 1 & 2. ABOUT UNBREAKABLE KIMMY SCHMIDT: Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role, that has streamed on Netflix since March 6, 2015. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her. Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Hollister & O’Toole, or, in keeping with the title’s NATO Phonetic Alphabet, Hotel & Oscar debate the merits of Tina Fey’s latest offering: Whiskey Tango Foxtrot. Directed by Glenn Ficarra & John Requa (Crazy, Stupid, Love). Cinematography by Xavier Grobet. Screenplay by Robert Carlock; based on a fictionalized account of Kim Barker’s book "The Taliban Shuffle: Strange Days in Afghanistan and Pakistan”*. Produced by Tina Fey and Lorne Michaels. Also starring Margot Robbie, Martin Freeman, Alfred Molina, Christopher Abbott, and Billy Bob Thornton. Cameos by Josh Charles (Will lives!) and Cherry Jones. *Though the film is based on Kim Barker’s book, Tina Fey’s character is Kim Baker (without the first “r”). O’Toole swears that at one point in the movie someone addresses Tina Fey as “Tina”. Is O’Toole crazy? (Wait, don’t answer that.)

This week we announce The Laugh Button Live! at SXSW 2016. It's going to be a rager! Get on down there, we also talk controversy when it comes to comedians and free speech. Also, Mark attends the press junket for Tina Fey's new film, "Whiskey Tango Foxtrot" and we speak with the movie's writer Robert Carlock and its directors, Glenn Ficarra and John Requa. The movie hits theaters on March 4th. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We emerge from our bunker to talk about the Netflix original series "Unbreakable Kimmy Schmidt" from Robert Carlock and Tina Fey. Indiana, Pinot Noir, living in the big city, and surviving trauma are all things that we talk about. Is this a worthy successor to "30 Rock" or something even better?An Hour with Your Ex is a Chicago based podcast hosted by comedians Mel Evans and Mark Colomb. This week's episode is sponsored by Jack Box Games and The Chicago podcast cooperative. 

Entre um Spoilers Talk Show e outro, faremos um pequeno intervalo comentando uma série, episódio ou notícia que movimentou nossas últimas semanas. Nesse primeiro Spoilers No Intervalo, o assunto é Unbreakable Kimmy Schmidt. A série da Netflix criada por Tina Fey e Robert Carlock conta a história de Kimmy, uma jovem que passou 15 anos vivendo num bunker subterrâneo a mercê de um reverendo insano. Reunidos para comentar os pontos altos dessa temporada, Arrigo Araujo, Denis Pacheco e Leticia Arcoverde discutem o rumo de seus 13 episódios. Atenção: O podcast contêm spoilers sobre a série. Leia mais aqui: www.spoilers.tv.br

Rog and Davo talk Chelsea dropping points, but moving closer to the title, and Burnley's upset of Manchester City. "30 Rock" and "Unbreakable Kimmy Schmidt" producer Robert Carlock guests.

  After spending 2014 weaving their way through the many different stories of Neil Gaiman's The Sandman, Paul and AJ have settled on something which appears much simpler for this year's Four-Color Flashback: Jeff Smith's Bone. Appearances can be deceiving, though. The boys have heard tell that Smith's cartoony magnum opus, taking obvious inspiration from Walt Kelly and Carl Barks' comic strips, grows into a complex, sprawling epic. And even in Vol. 1: Out from Boneville, wherein Fone Bone, Phoney Bone, and Smiley Bone find themselves in a strange new land, there are inklings of the high fantasy to come. Plus, the boys discuss friend of the show Kenn Edwards' short film The Joke, attempt to break down Tina Fey and Robert Carlock's new Netflix show Unbreakable Kimmy Schmidt, and prepare to enter the Age of Ultron with a new trailer. Next: Eric Sipple stops by to chat. This won't end well.